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ACKNOWLEDGEMENTS This research has been a lengthy and complex process. We have always stated publicly that this work was for the dance field and it has been carried out in collaboration with the field. We have had support from so many people throughout the process and without this we could not have completed the work. Firstly, we would like to thank Janet Archer, Theresa Beattie, Ellie Hartwell and Tania Wilmer in the dance strategy department of Arts Council England. Without their support this work would not have been possible. Tania Wilmer carried out many of the interviews for the illustrations that pepper the report and we are immensely grateful to her for her rigour and hard work. We are also grateful to those who agreed to be interviewed and gave so generously of their time. There were many Arts Council staff who sourced and contributed data but Jonathan Treadway, Amanda Rigali, Delia Barker and Rebecca Dawson deserve special mention. Regional dance officers provided valuable local data and information and their input through the Dance Practice Group meetings was always valuable. Terry Adams and Claire Cowles (the ‘Survey Monkey’ queen) provided invaluable research backup to us throughout the process and their rigour is evident in the survey data as well as in the analysis of the Arts Council England data. The Steering Group (listed in Appendix One) supported the process, guided us wisely and challenged us when necessary. Their support for the consultation events was also greatly valued. The strategic agencies provided ongoing access to data, Foundation for Community Dance (FCD) staff carried out an analysis of jobs advertised and Sean Williams and his team at Council for Dance Education and Training (CDET) carried out research on the private sector for us that has helped to create a better picture of this sector. The staff at the National Rural Touring Arts network also assisted with a survey of members and we are grateful to National Association of Local Government Arts Officers (NALGAO) for working with us on the local authority survey. There were also many people who provided reports and data throughout the process ensuring we had access to important and often unpublished material. Thank you to all of you. 2 CONTENTS LIST OF TABLES and FIGURES 6 FOREWORD 9 EXECUTIVE SUMMARY 11 PART ONE: BACKGROUND 20 1. Introduction 2. Working definitions 3. The dance field 4. The historical context of dance in England 5. The dance environment PART TWO: METHODOLOGY 35 1. Methodology 2. Limitations of methodology 3. Conclusions PART THREE: POLITICAL 38 1. ‘The courage of funders’ 2. Arts Council England 3. Government policy and trends 4. 2012 Olympiad 5. Internationalism 6. Economic downturn 7. Key conclusions PART FOUR: ECONOMY 60 Section One: Publicly funded sector 1. Introduction 2. Publicly funded dance economy 2.1 National, strategic and regional dance agencies 2.2 Producing and touring companies 3. Distribution/touring picture 4. Venue survey 5. Local authority survey 6. Arts & Business: Private sector investment 3 Section Two: Lottery expenditure on dance 1. Capital 2. Grants for the arts Section Three: Creative industries 1. Creative industries: The bigger picture 2. Entrepreneurship 3. Intellectual property and copyright Section Four: Key conclusions PART FIVE: ECOLOGY 125 1. Introduction 2. A diverse workforce 3. Identification of issues 4. The market place 5. Training and development 6. The workforce survey 7. Perception and confidence 8. Workforce development 9. Supply and demand 10. Diverse working patterns 11. Leadership 12. Key conclusions PART SIX: TECHNOLOGY 173 1. Introduction 2. Planning new technology development 3. Dance artists’ engagement with new technology 4. Dance in digital form 5. Key conclusions PART SEVEN: SOCIAL 191 1. Dance as a social artform 2. Big Dance 3. Dance in popular culture 4. Dance, health and social inclusion 5. Attendance, participation and engagement 4 6. Audience research 7. Developing audience and attendance 8. Venue survey 9. National rural touring schemes 10. Amateur and voluntary sector 11. Youth dance 12. Folk dance 13. Central Council for Physical Recreation 14. Private dance schools 15. Key conclusions PART EIGHT: AESTHETIC 233 1. Introduction 2. Talking about dance 3. Excellence in dance 4. Making funding and support work more effectively 5. Working with dance agencies 6. Key conclusions PART NINE: CONCLUSIONS and RECOMMENDATIONS 250 APPENDICES 256 1 Consultants Biographies 2 Arts Council England Consultants Brief for Dance Mapping Research 3 Bibliography/ Literature Review 4 Timeline 5 Environmental Analysis 6a. RFO Data Descriptors: Agencies, Producing and Touring Companies 6b. RFO Data Descriptors: The Regularly Funded Organisations Portfolio 2008-2011 7 List of Those Consulted 8 Notes from Local Authority Survey – Claire Cowles 9 Notes from Workforce Survey – Claire Cowles 10 Notes from Venue Survey – Claire Cowles 11 Workforce Survey Profiles – Claire Cowles 12 Arts Council Response 5 List of tables 1 Dance field: Stages of cultural production 2 Dance funding 3 Arts Council England dance spend as percentages of total arts spend 4 British Dance Edition 2008 bookings 5 Arts Council England’s planned expenditure for all arts from 2008/9–2010/11 6 Regularly funded organisations investment data - 2008/09–2010/11 by region 7 Large-scale dance investment –.... 2008/9-2010/11 and total spend on agencies and small to middle-scale producing and touring companies 8 Total Arts Council subsidy to regularly funded organisations and total public engagement by region 2004–07 9 Performance and attendance data 2004–2007 10 Income strands of the agency portfolio 2004–2007 11 Reliance on Arts Council subsidy by region set against total turnover 2004–2007 12 Total turnover of agencies by region 13 Total expenditure and expenditure on artistic programme 2004–2007 14 Total Arts Council subsidy to the producing and touring company regularly funded organisations and public engagement figures 2004–2007 15 Performances by region by regularly funded organisations 2004–2007 16 Performance and attendance data from 2004–2007 (except Birmingham Royal Ballet and English National Ballet) 17 Total expenditure of producing and touring companies by region 2004–2007 18 Expenditure on artistic programme against total expenditure 2004–2007 19 Touring/distribution by touring companies by region 2004–2008 20 Touring/distribution of the large-scale companies 2004–2007 21 A sample of large-scale venues presenting dance 22 Venue responses by region 23 Partnerships in presenting dance 24 Income from a dance programme 25 Dance programming 26 Identifying companies 27 Responses to the local authority survey, by region 28 Average spend by local authorities on the arts and dance 2005/6–2007/8 29 Private investment by type 30 Private investment by artform 31 Private investment by region 6 32 Capital Programme One (1995–2001) 33 Arts Capital Programme (2001–2004) 34 Grants for the arts – Capital (2004–present) 35 Total Capital Programme One by Region 1995–2001 36 Total Grants for the arts funding awards for dance (main artform) 2004–08 by region 37 Number of unsuccessful and successful Grants for the arts applications – Arts Council England South East 38 Total Grants for the arts for dance (main artform) by region 2004–2008 39 Total Grants for the arts for dance (main artform) as a percentage of Grants for the arts awards 2004–2008 40 Grants for the arts sub dance forms total expenditure 2004–08 by regions 41 Dance field: Workforce 42 Learning catalysts 43 Employment in dance related work 44 Engagement with diverse genres 45 Regularly funded organisations’ employment data 46 PE, School Sport and Club Links (PESSCL) data 2006: Dance provision 47 PESSCL data 2006: Dance club links 48 Specialist schools 49 Exam entries 50 Initial Teacher Training places 51 Overall student numbers: Dance undergraduate and postgraduate programmes 52 Tertiary dance provision 53 Student progression into work 54 Numbers working in the private sector 55 Distribution of the dance workforce 56 Demographic of dance workforce 57 Earning a living through dance 58 Professional roles in dance 59 Qualifications 60 Cross-sector working 61 Membership figures for national strategic organisations for dance 2008 62 An analysis of jobs in dance – April 2008–March 2009, 63 YouTube statistics for dance genres 64 Viewing figures for Strictly Come Dancing 65 The arts in England: Dance attendances 2001–2003 66 Mosaic profiling and relevance for dance 7 67 TMA audience data by genre for a period of 52 weeks 2008 68 Dance groups and membership by region 69 Multi–arts groups and membership by region 70 Socio-economic status of members 71 Dance courses available by region 72 Total number of young people dancing per week 73 Central Council for Physical Recreation movement and dance clubs and individual members 74 Tensions and contradictions in the dance field List of figures 1. Income strands of the producing and touring portfolio 2004–2007 2. Turnover 3. Marketing the dance programme: Percentage of sample using different methods 4. Local authorities’ dance spending priorities 2004/5–2007/8 5. Frequency of performances against audience demand 6. Analysis of the dance audience 7. Expenditure on dance, all three programmes 1995–2008 8. Capital expenditure on dance projects 1995–2008 by programme 9. Capital expenditure on dance projects 1995–2008 by region 10. Total Grants for the arts awards for dance (main artform) all regions 2004–2008 11. Grants for the arts sub dance form totals all Arts Council England regions 2004–2008 by percentage 12. Percentage growth in student numbers in higher education dance, drama and music 2003–2007 13. A model for Arts Council England engagement with digital technology 14. Attendance at dance events 15. Participation in dance activities 16. Regularity of dance programming 8 FOREWORD Foreword The Dance mapping research, A window on dance , offers a deep insight into the breadth and range of dance work now happening in England.
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